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MUSIC LAND 



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Tho College Chap u 7 

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The El pementof El>?3n 4 3 

Eng iijcd by V/cdnesday 5 ' ' 

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Excuse Me 4 6 

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Silas Marner 19 4 

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She Stoops to Conquer 15 4 

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^ "-^ — ' — "2 I 



In Music Land 



A Short Sketch for Children 



By 

ALICE WHITNEY BROCKETT 



NOTE 

The professional and moving picture rights in this play are 
strictly reserved and application for the right to produce it 
should be made to the author in care of the publishers. 
Amateurs may produce it without payment of royalty on 
condition that the name of the author appears on all pro- 
grammes and advertising matter issued in connection with 
such performances. 




BOSTON 
WALTER H. BAKER COMPANY 

I 9 2 I 






In Music Land 




Copyright, 1921, by Alice Whitney Brockett 
As author and proprietor 

Professional stage and moving picture rights reserved. 



SEP 15 1921 



•CLD 5 8(5^8 



*w\.? { 



Rests 

Notes 



Syllables 
Rhythms 



CHARACTERS 

In the order of their appearance 

G. Clef, guardian of the treble staff. 
F. Clef, guardian of the bass staff. 

Two Quarters. 
One Half. 

Whole Note. 
Half Note. 
Quarter Notes (2). 
Eighth Notes (2). 
Sixteenth Notes {4). 
Thirty-Second Note. 

Crow, who cannot sing. 
Bluebird, who can sing. 

DoH : Re : Mi : Fa : Sol : La : Ti : Doh. 



Two- Four. 
Three-Four. 
Members of the Orchestra 

Frog. 
Bee. 

Grasshopper. 
Katydids (2). 
Cricket. 
Hummingbird. 
Chromatics 

Sharps (5). 
Flats (5). 

Marks of Expression 

Crescendo, always growing louder. 

Diminuendo, always growing softer^ 

RiTARD, always growing slower. 

Forte. 

Piano. 

Accent. 

Hold. 

Tie. 

Three Girls. 

The Round, a form of part music. 

Apollo, Greek god of music. 
Time of Playing. —About forty minutes 
Time. — The present. 
Place.— Out-of-doors in Music Land, 



FOREWORD 



The author acknowledges her indebtedness to a child- 
hood friend, " The Musical Journey of Dorothy and 
Delia," by Bradley Oilman. (Published by Thomas Y. 
Crowell.) 

In Music Land is an effort on the part of the writer 
to present in dramatic form some of the problems 
and musical characters met by children in the primary 
grades. It may, however, be so extended as to cover 
work for the more advanced child, and boys and girls of 
the grammar grades could be assigned the more difficult 
parts. 

This " revue " of musical characters is suitable not only 
for school presentation, but also for recital programs of 
studio teachers. For producers interested in musical his- 
tory the historical side may be stressed. 

The musical program has been carefully planned and 
is of great importance. Children selected for the sing- 
ing parts should have good voices. Two endings have 
been arranged in case it should be desired to follow the 
play with a concert of songs or a recital of instrumental 
music. 



COSTUMES 



COSTUMES 



G. Clef. A tall girl. White dress of cambric or silk- 
aline in shepherdess style. The drop skirt decorated with 
black notes and rests of different values, black buckled 
slippers, white stockings, powdered hair topped by a 
black bow. Carries large clef staff of black. 

F. Clef. A boy, not as tall as G Clef. Costume of 
gray cambric, colonial style ; large black hat with buckle, 
white wig, white frilled shirt, black buckled slippers. 
Wears a large black clef over shoulder and back; leans 
on cane. 

Rests. Boys or girls (small). Loose tunic of black 
cambric from shoulders sewed to under arm; pattern of 
rests in white on front. 

Notes. Whole; a boy; of very slow action; well 
padded. Half ; a boy ; of deliberate action. Quarters ; 
boys or girls'; one has bandaged finger. Eighths; boy 
and girl. Sixteenths; two boys and two girls (quite 
small). Thirty-second; smallest boy or girl. Cos- 
tumes of notes vary only in size and decoration, made of 
white cambric, round neck and points cut for sleeves 
and bottom of blouse. Five or six inches of short knee 
trousers show below blouse. Low sash of black cam- 
bric, notes of different values placed on each point of 
blouse and hang from points on sleeves. Large note 
forms feather for the small white cap. White socks and 
black pointed shoes like brownies. Notes must be gradu- 
ated in size. 

Syllables. Four girls and four boys. Boys in pri- 
mary and girls in secondary colors, as follows : 

DoH, red Re, orange 

Mi, yellow Fa, light green 

Sol, light blue La, medium blue 

Don, red Ti, dark violet 

Costumes of cambric in one piece with pointed neck. 



COSTUMES 7 

sleeves, and bottom, knee length. Small tarn to match. 
Pointed shoes of same colors ; white or black stockings ; 
names in five-inch letters in black or white on front. 

Rhythms. Two boys, one in blue and white, other in 
orange and white. High-waisted, long trousers buttoned 
on white shirts; colored collars and caps, baseball style; 
black slippers. 

Chromatics. Ten girls. Sharps in blue cheese- 
cloth with silver tinsel. Flats in yellow with gold tinsel. 
Full dress gathered in a round neck; tinsel crossed in 
front of waist in Grecian style, triangulai pieces from 
shoulder with one end tied to wrist ; skirts and sleeves 
decorated with silver and gold sharps or flats; tinsel 
bands for forehead with two wired sharps or flats up- 
standing in front. 

Crescendo. A boy, quite large. Shaded orange cape, 
wide and full, light at bottom and dark at top. Large 
hat and feather give pompous effect, made of crepe paper 
or dyed material. Doublet of brown with orange cres- 
cent moons pasted on. Brown stockings and sandals 
with large pompoms. 

Diminuendo. A boy, quite thin. Shaded lavender 
cape with no fullness; dark at bottom, light at top. 
Floppy hat and drooping feather. Doublet of gray with 
purple marks of the shape of crescent moons ; gray 
stockings and pointed shoes. 

Ritard. a boy. Brown tunic under a green cape 
which trails from one shoulder; green hat upturned from 
face trails a hanging feather down the back; brown shoes 
and stockings. Gives the effect of dragging. 

The Round. Three girls of the same size. Plain 
white dresses with colored sashes and hair bows. Al- 
ways keep hold of hands. 

Crow. A boy with deep voice. Black cambric cov- 
ered with black crepe paper feathers cut and sewed on ; 
short trouse.rs and coat, pa jama style ; tail piece wired and 
attached at the waist ; two wings wired and taped to 
wrists ; cap, helmet style ; beak of wired cambric stuffed. 
Very little face shows. 

Bluebird. A girl who dances well. Costume same 



8 COSTUMES 

Style as Crow but of blue feathers ; may have short cir- 
cular skirt and bloomers. 

Apollo. A tall boy. Conventional white robe; car- 
ries gold lyre and wears wreath of gold leaves. 

Forte. A boy with loud voice. Wears Raleigh cape 
of red; blue coatee over white blouse; bright knee trou- 
sers and red sash; white stockings, red sandals, red 
pointed cap. 

Piano. A girl with soft voice. Wears dress of pale 
gray, short blue cape, blue pointed hat, gray stockings, 
blue sandals. 

Accent. A boy, who steps and speaks with accent. 
Wears long orange trousers, white blouse, Raleigh cape of 
orange with purple marks in accent shapes on it, pointed 
purple cap, and purple sandals. 

Ties. Two boys, or two girls together. King blue 
tunics, black tie loops from outside shoulders of each, 
back and front, black stockings and slippers, blue tams 
with long black ribbons on side. 

Hold. Boy or girl. Wears soft brown robe covered 
at bottom with hold signs in gold; long orange scarf 
from shoulders, brown stockings and sandals. Carries 
staff or wand with hold sign at top. 

Frog. A large boy. Green cambric or crepe paper 
with black dots makes head and back, white front, black 
shiny eyes pasted on large head, wired claws and jaws; 
crouching posture. 

Grasshopper. A tall boy. Brown and green paper 
muslin make the body and wings, large goggles for eyes, 
legs and arms covered, wired feelers. 

Cricket. A small boy. Black cambric wired into 
flat casing forms the body, wired feelers, boy's arms and 
legs covered with stockings. Crawls on the ground with 
snapper in mouth. 

Hummingbird. A small girl. Feathers of shiny 
paper sewed on cambric foundation in style of Crow. 
Red at throat and chest, yellow-green on back, beak at- 
tached to feathered head. 

Bee. a small girl. Tight bodice of orange and black 
stripes, black cambric trousers and stockings, black hel- 



PROPERTIES 9 

met, wired gauze wings. Carries small bagpipes under 
wings, long black gloves. 

Katydids. Two girls, one marked " Did " and one 
" Didn't." Pale green gauze wings wired, quite long. 
White or gray front, head of green with black eyes, 
helmet style. Carry music. 

Note. — Any part or characters marked with an asterisk 
may be omitted if desired. In case the orchestra part is 
omitted the entrance of Flat 7, and Sharp 4 follows 
the ring dance with the Rhythms. If the extra expres- 
sion marks are omitted Crescendo says, " Come on, 
Ritard — ," etc., directly after Ritard's speech to La. 
For a larger cast, Rests, Notes and Syllables may be 
doubled with good effect. 



PROPERTIES 

This play is suitable for outdoor or indoor presenta- 
tion, and the giving of it is not dependent upon elaborate 
setting or costumes. These can vary as the situation de- 
mands. The following suggestions for the setting may 
be of some help : 

Lattice work decorated with leaves and flowers make 
a good background with ferns and palms at right and 
left. A green archway at center back makes a desirable 
exit, other exits at right and left. Two garden benches 
at either side. Allow as much space as possible for free 
action of children in dances and spontaneous ring games. 
If outdoor setting is used and no curtain possible, two 
book covers made of green paper tacked to a wooden 
frame four feet wide and six feet high may be held by 
four children inside the frame. These should be let- 
tered as follows : " Child's First Music Reader," and 
should be opened gradually to disclose staff. 

A large scroll made of fifteen yards of white cambric 
is tacked to two large poles. Black lines twelve inches 
apart are painted on this scroll. There is one sharp on 
the fifth line, followed by five notes — D, B, G, A, and G. 



10 DIRECTIONS FOR MUSIC 

Holes are cut in these to allow heads of children to show. 
Before the curtain opens the white staff should be in 
position with G Clef holding her clef pole posed against 
it. Curtain opens only enough to show staff and notes. 

The clef pole for G Clef is cut from heavy cardboard 
blackened with crayola and tacked to light pole. 

The F Clef is made of heavy cardboard, blackened 
with crayola, hanging over one shoulder and curving be- 
low the knee. 

For the balance game a teeter board ten feet long and 
a low horse are needed. 

A lettered sign is needed for Chromatic Tones to carry. 



DIRECTIONS FOR MUSIC 

For Crow Entrance. Music may be transposed to D 
major from page 13 of Robin Hood Score. It offers 
good rhythm for hops. 

For Orchestra Class. The Cricket's snapper be- 
gins on first and third beats of measures i, 2, 4, etc., alter- 
nating with Frog's " Chug-a-rum-rum " of one measure 
beginning on fourth beat of second measure. Real 'cello 
and violins play while class is playing imitation instru- 
ments. Grasshopper plays on 'cello, Cricket uses 
snapper in mouth, Bee blows bagpipe with much puffing, 
Hummingbird circles in place, plays the violin with bill, 
Katydids carry music under wings, Frog rolls his R's 
in Chug-a-rum-rum and may have a drum and tap sticks 
against his own fat chest. Cuckoo, unseen, calls at close 
of first verse and again at end of second. 

For Balance Game. The first sixteen measures of 
music are played ni. /., the change to other players must 
be quick, and pause in music only enough to allow short 
speeches to be heard. The eight measures when notes 
are balancing wrong must be very soft, the last sixteen 
loud and joyous. Cues and entrances are lettered in red 
ink in prompters' copies. 



DANCES II 

DANCES 

Balance Game. Music, Waltz ; ** Robin Hood." 

Entrance. Allegretto, page 7. 

Measures. 1-16, gaily, Half Note and two Quarters 
balance. 

Measures. 17-24, gaily, Half Note, Half Rest, and 
Whole Note balance. 

Measures. 25-32, softly, two Eighth Notes, one Six- 
teenth, and three Sixteenth Notes balance. G and F 
Clefs change this to final group. 

Measures. 33-48, gaily, two Eighth Notes and four 
Sixteenth Notes balance. 

This may be repeated with other notes balancing equal 
values. 

Bluebird and Crow Dance. Music ; " Birdling," 

Opus 4S, Grieg. 

Bluebird enters from right back stage; sings three 
short trills to " Ah " in key of dance. 

1. Five or six tiny steps diagonally r. Poise on right 

foot and wave wings. 
Five or six tiny steps diagonally l. Poise on left 

foot and wave wings. 
Turn around r. with two step-hops ; arms in 3rd 

position. 
Five or six tiny steps diagonally r. Poise and 

wave wings. 
Repeat all, starting left. 

2. Bluebird stands still and watches Crow, who takes 

two steps forward, then stands still and flaps 
wings; two steps forward again, stands still and 
flaps wings ; turns around once right with two 
clumsy step-hops, toes turning up; steps for- 
ward, flaps wings. 

3. Crow then turns to his place with twelve little hops 

on both feet, while Bluebird works in semi- 
circle to center back stage with six slide-hops, 
arms in 3rd position. As she slides on one foot, 
other foot is raised in back. Bluebird pirou- 



12 DANCES 

ettes ; Crow jumps half-way around on both feet, 
flapping wings. Bluebird pirouettes again. 
Crow jumps around. Bluebird darts first R. 
then L. with four or five tiny steps, arms in 3rd 
position, first the R. then the l. hand leading. 
4. Bluebird repeats step l., substituting a pirouette 
in each place where she poised and waves wings 
in step L., except in the last measure, where she 
holds wings poised up. 
Possible addition. Crow repeats 2 with four step-hops 
with toes up and a large flap of wings. Then 
watches Bluebird carefully. Bluebird has four 
slide-hops, a short run forward, then poises on one 
foot. Crow flaps wings on last two chords. 

March of the Syllables. Music ; " When the 

Regiment Goes By," 
from Lilts and Lyrics. 

1. DoH and Mi enter left; Don and Sol enter right; 

the DoHs are nearest the front of stage. 
Seven steps; feet together facing front. 
DoHS step forward one step; Mi steps forward 

one step; Sol steps forward one step; the four 

form a windmill and step once around with eight 

skip-steps. 
Four steps forward in line, feet together on fifth 

count. 
Leave space for other syllables. 

2. Re and Fa skip to places, by weaving about others 

and make bob curtsey. La skips to place and 
makes bob curtsey. Ti does the same. 

Chorus. — Don and Re face and join hands, stretched 
out. Ml and Fa face and join hands, stretched out. 
Sol and La face and join hands, stretched out. 

Take four slides toward back of stage, beginning with 
forward foot ; three steps and bend, changing places 
with partner. Then repeat slide steps and bends to 
front of stage. All curtsey to partners (4 counts), 
face front, take one step forward (4 counts). All 
stand and sing final syllables of chorus. 



DANCES 13 

Chromatic Tones Dance. Music ; " Habanera Carmen," 
Schirmer edition, " Selections from 
Favorite Operas for Piano." 

Entrance, page 6, Key of F. (four chords to prepare). 

1. Five Flats enter from one side and form circle, 

while five Sharps enter from other side, form- 
ing another circle. All join hands high, small 
steps in correct place, one measure. Entrance 
step, foot nearest audience in fifth position, make 
shoulder high with hands, one measure; step and 
bend toward audience, one measure; step and 
bend away from audience, one measure. Repeat 
entrance step three times. 

2. Eight skip-steps to right, 4 measures. 
Four skips to center and back, 4 measures. 
Eight skips to left, 4 measures. 

Four skips to center and back, 4 measures. 

3. Leaders of two circles face and lead their groups 

into one big round group by grand right and 
left (16 skip-steps) for 8 measures. 

4. All hands joined, balance r., balance l., three steps 

forward and point, 4 measures. Balance l., bal- 
ance R., three steps backward and point, 4 meas- 
ures. Balance r. and balance l., three steps 
turning to right and point, 4 measures. Same to 
left. 

5. Exit ; four running steps, point and bend toward 

audience. Repeat three times. 



14 MUSIC 



MUSIC 



OVERTURE— '' Shepherd Dance," Henry VIII. 

Ed. German 
" Morris Dance," P. 26 Score " Robin 
Hood." R. De Koven 

{Curtain opens on last six measures.) 

1. Entrance of Notes and Balance Game. 
Introduction and Waltz Overture," Robin Hood." 

R. De Koven 

2. Crow Entrance. 

P. 13— Allegretto in D, " Robin Hood " Score. 

R. De Koven 

3. Bluebird and Crow Dance. 

" Birdlincj." Op. 43. Ed. Grieg 

4. Syllables March and Song. 

" When the Regiment Goes By," Lilts and Lyrics. 

Gaynor 

5. Orchestra Class, sung and played. 

" The Orchestra," Prog. Series, Bk. II. 

Fox. Lutkin 

6. Exit of Orchestra Members. 

" The Bee." Schubert 

7. Chromatics Dance. 

" Habanera" Carmen. Selection from Favorite 
Operas, G. Schirmer Edition. Bizet 

8. Round. 

Tune—" Gaily Brays the Donkey." Old Folk Tune 

9. Final March of all Characters. 

"Dorothy." Old English. Seymour Smith 



In Music Land 



SCENE. — A garden. 

{Curtain opens and discloses G Clef posed against 
staff; Note Heads showing at given places.) 

G. Clef {looks about, the Notes nod and smile). My 
children are all promised a holiday to-day, so I may as 
well step down and see what is going on. {Steps dozmt 
and walks forward. ) The Notes have been working hard 
and need a good chance to play. I've lived in Music 
Land almost ever since there was such a place, and when 
a holiday comes along I like to play too, though my busi- 
ness is to keep the Notes in their places on the staff. 
{Smiles.) That is hard work sometimes, too. {Turns 
to Notes.) D, you and the other Notes may run away 
from your places now. Have a good time ! ( Notes 
sing in given pitches as Sol-Mi-Doh-Re-Doh. " Thank 
you, Mother G. Clef." G smiles and waves hand.) Run 
along and play, take the staff with you. 

{Curtain opens wide as Notes run off lightly and staff 
is taken quickly off. Notes are not seen by audi- 
ence. G walks about until she sees F Clef com- 
ing in.) 

{Enter F Clef slowly, leaning on cane.) 

G. Clef. Greetings, Brother Bass Clef ! How are 
you to-day? 

F. Clef. Nicely, thank you. It does me good to 
stretch my legs a little. I get very cramped sitting so 
long on the staff. I'm bent over anyway and very glad 
of this holiday to relax a bit. 

IS 



l6 IN MUSIC LAND 

G. Clef. I suppose our note children are having a 
gay time. Did you see any of them as you came along? 

F. Clef. Yes, some are playing in the meadow. The 
Eighth Notes, little rascals, were chasing poor old Whole 
Note till he was quite out of breath. They were playing 
Fugue, I guess. (Laughs and nods head.) 

G. Clef. Poor Whole Note! He wasn't built for 
running, but those Eighth Notes are always ready for 
some mischief. They know that our musical family is 
so large that you and I cannot watch them all the time, 
and I greatly fear they take many advantages. 

{Goes to bench and seats herself.) 

F. Clef. But they are lovable rascals, in spite of their 
mischief, aren't they? You were speaking of our large 
family. I was just thinking how the music family had 
grown since those early days when we lived in Italy. 

{Sits beside her on bench.) 

G. Clef. Indeed it has, F, and how we have traveled 
since then, through Europe first, and then to America, 
How many people have come to know about us and learn 
our rules and customs. 

F. Clef. Yes, even the children in schools learn a 
great deal about us now. 

G. Clef. Many of them learn to love us too, and yet 
I can remember little boys of long ago who loved us 
when it was not so easy or pleasant to study about us. 

F. Clef. You mean little Handel and Mozart? 

(Music: Mcmrt "Minuet," softly.) 

G. Clef. Yes, and Mendelssohn and Bach and, oh? so 
many others ! What a hard time they had to learn mu- 
sic. Bach had to copy his music on the roof in the 
moonlight because his brother did not want him to study 
it. I can see him now ! 

F. Clef (nodding). I remember, and / can see little 
Handel tiptoeing to the attic at night to practice on the 
old spinet when his father was asleep. (Laughs gently.) 
He persevered, bless him ! 



IN MUSIC LAND I7 

G. Clef. In spite of their struggles and hard work, 
what beautiful and glorious music they all made when 
they grew older. 

F. Clef. YeS; and now the children of to-day love to 
study that very music. 

(Sound of crying is heard.) 

G. & F. Clefs. Dear me, what is that, I wonder ! 

(Rising in concern.) 
(Enter 32ND Note, l., crying. Whole Note, r.) 

Whole Note (kneeling to comfort her). Why, you 
poor little 32nd Note, don't cry! (Turns and curtsies to 
G. and F.) She has lost her way, but I'll take care of 
her. She can play balance with us. [Exit with 32ND Note 

G. Clef. Oh, that will be nice. Why not play here? 
We will fix the board for you over this bar. 

(As they walk l., F peers at sleeping Rests.) 

F. Clef. Who are these tots here ? Oh, I see. Rests, 
and sound asleep as usual, I do believe. 

G. Clef (walks toward them and leans over to waken 
Rests). They are always quiet and sleepy, aren't they? 
Wake up. Rests, and move over there. 

(Gently moves them to the right, back, then arranges 
see-saw in center.) 

F. Clef. The Notes never seem to get tired of play- 
ing this balance game, do they? Isn't it fun to watch 
them when Whole Note sits on one end and needs four 
Quarter Notes on the other end to balance him? 

(Both F and G smile, move to bench at r. as before.) 

(Joyous voices heard off stage. " Come on, let's go, 
we'll plav," etc.) 

(Enter 8th Note, running.) 

8th Note. Come, Whole Note, don't be so slow. 
Whole Note (puffing breathlessly). I'm coming, 
only there's a lot of me to move. 



l8 IN MUSIC LAND 

(Enter all Notes, They run and circle about the 
see-saw. ) 

Half. Let's wake the Rests to play with us. They 
need a Httle exercise. (Crosses stage with a i6th 
Note and pulls up Rests. Half gets on board.) I'll 
balance you ! Who's ready ? 

(Two Quarter Notes get on other end.) 

(Music: Walts, from "Robin Hood.") 

Notes. We are ! 

Whole. My turn now. Careful of me! Whoop! 

(Sits heavily. Half Note and Half Rest balance.) 

(Walts continued.) 

Sixteenth. Let me do it too ! 
Eighth. You can stand in the middle. 

(Helping her.) 

Eighths. We'll take you, i6th I 

(One Sixteenth gets on end with two Eighths, three 
Sixteenths on the other. They balance that way, 
during which F and G discover mistake. G smiles 
and comes forward.) 

(Walts continued.) 

G. Clef. Here, you can't balance that way. You be- 
long down here. 

(Lifts Sixteenth <ind moves her to other end.) 

(Walts to end.) 
Eighth. Come on. 

(Enter Crow, who comes hopping from R. ; does noi 
speak till he has looked about.) 

Crow. Well, I think this must be the place I've been 
hunting! Is this Music Land? 

F. Clef (comes forward). Yes, Mr. Crow! We are 



IN MUSIC LAND I9 

glad to see you. Why have you been hunting for Music 
Land? 

Crow. I have a great desire to learn to sing, and 
thought this would be a good place to come. 

G. Clef. It is a good place to come; in fact the best 
place. Our Notes are busy eveiy spring, giving sing- 
ing lessons to the birds. Half Note is a good teacher. 
He will help you, I am sure. 

{Turns to Half Note. See-saw is pushed back, but 
Notes are watching Crow.) 

Half. I'll be very glad to. (Comes forward.) Let 
me see. First put your chest up — that's the way. Can 
you straighten your back a little? That's better. You 
need a good posture and a good breath. Now try this 
(Sings.) La, la! 

Crow. Caw, caw ! 

{Hoarse voice, flaps wings as Notes look about, 
startled. ) 

Half. Well, never mind. Try it a bit lower. (Sings 
lower. ) La, la ! 

Crow. Caw! Caw! (Dismally.) 

Half. Have you a little cold to-day? 

Crow. No. Caw! Caw! (Flaps.) 

Half (thinking). I'll tell you: Miss Bluebird learned 
a very pretty song this week. We can get her to come 
in. She will be an inspiration to you. (Calls, l., as to- 
ward a tree.) Oh, Bluebird, won't you come and sing 
your song for Mr. Crow? (Crow hops l. to watch.) 

{Enter Bluebird, who flutters in from l. back, sings 
three short trills in key of dance.) 

(Music :" Birdling," by Grieg.) 

(Bluebird and Crow dance. At end Crow shakes 
head. G comes forward. ) 

Crow. Oh, this Is most distressing. I cannot under- 
stand how to do this at all. It looks and sounds very 



20 IN MUSIC LAND 

nice, Miss Bluebird. I thank you. (Bozvs to her.) 
But isn't there an easier way to learn to sing from notes ? 
No offense to you, Mr. Half Note, I'm sure. Your 
method is fine for any one but a crow. 

G. Clef. Yes, there is an easier way. Bluebird, as 
you fly back to your nest, ask Doh and the others to 
come in, won't you ? What you need, Mr. Crow, are the 
Syllables. They are the ones who interpret the notes for 
us. Gay and lively they are too, though they belong to 
a very old Latin family. 

{EA;it Bluebird. Crow bobs head and hops to l. to 
watch the Syllables.) 

{Enter Syllables, marching and singing.) 

{Music: Syllables' " March.") 

" Oh, here we are the Tonic Chord; 
Now please to note us well. 

First the Keynote, Doh, then Mi, then sturdy Sol, 
When we dominate the key it's easy quite for you to 

tell 
That we're brothers and together like to go. 

" In every key both Re and Fa 
Are always to be found. 
They are pretty, soft, and usually sweet. 
La, because he loves the minor so in colors dark is 

gowned. 
Then with Ti, the leading tone, we are complete." 

{Chorus danced. Final syllables are sung.) 

(Crow looks at them and hops in front of each one in 
turn and caws as each syllable is sung in scale 
sequence. At end flaps wings joyfully and turns 
to G. Clef.) 

Crow. I see now how it is done, but my throat seems 
too husky {Cheerfully.) to sing to-day. 

G. Clef. Some birds never do sing much. You will 



IN MUSIC LAND 21 

have to be a good listener. That's really just as im- 
portant as it is to be a good player or singer. 

Crow. Well, poor Jim Crow can't sing, that's plain, 
I guess, but he likes to hear good music. Thank you for 
your help. I must hop along now. Well, good-bye, 
everybody. 

All. Good-bye, Mr. Crow. 

(Exit Crow, gradually, trying " caws " valiantly. 
Gradual exit also for five Syllables; Re, Fa, Mi, 
Ti, and Doh. Notes leave see-saw and start a ring 
dance and look off r. as 8th Note points laugh- 
ingly. ) 

Eighth. Oh, look! {All laugh heartily.) 

Half {peering). What is it? Why are you laugh- 
ing? 

La. Well, of all the silly boys. Who ever heard of 
2/4 and 3/4 rhythms trying to walk together ! 

Sol. How absurd ! Those two were never meant to 
go together! 

Half {laughs). Can't be done, boys I 

{Enter Rhythms from l., each in his own step, arm in 
arm.) 

Rhythms {recite these Rhythm Verses)» 
" Well we — thought we'd see 
If it — could be done, 
And we're — doing it 
Just be — cause it's fun {Bobbing now.) 

{All others laugh and watch.) 
Now just — see if you 
All can — do it too ; 
We have — shown you how, 
So we — make our bow." 

{Bow to audience, jump and bow to Notes; then jump 
and bow to each other. Notes run to them and 
form two groups for ring dances. Whole Note 
and Half Note either watch from side, or stand in 
center of rings.) 



22 IN MUSIC LAND 

(Exit G and F Clefs, center back, or right, slowly, 
taking Rests with them.) 

* DoH (suddenly). Oh! I completely forgot my 
poor class ! 

All. What class do you mean, Doh ? 

DoH. Why, my orchestra, of course ! I promised to 
give them an extra lesson to-day. (Looks off stage.) 
Ah, here come some of them now ! Two-four, will you 
help us a little? We are working on a march, and it 
does not go very well. 

Two-Four. Surely I will. I'm a great one for 
marches. 

(Enter Frog with drumsticks, Grasshopper zvith 'cello. 
Bee with bag- pipes. Cricket with snappers, two 
Katydids, marked " Did " and " Didn't," carrying 
music. Hummingbird with violin. Cuckoo ready 
off stage.) 

DoH. Right this way, friends. I'm glad you are so 
prompt. Two-four is going to help us with the music. 
Katy, pass the music, please. 

(Business of arranging instruments and music. Doh 
and Two-Four near by. Other Notes in tableaux 
in back. Some of the Notes may exit during this 
part if the stage is too full.) 

Don. Did Katy give every one the right parts? 

All. Katy did ! 

DoH (glancing over music). Now, Frog, your drum 
part is quite regular. There is a long 'cello part, so be 
careful of the bowing, Grasshopper! Bee, your pipes 
should drone steadily, but not too loud, remember. The 
violin part goes very well, Hummingbird. My only 
worry is the way Cricket comes in at the wrong times. 
Watch me, please. Ready, every one ! 

(Music: "The Orchestra.") 

(Two-Four keeps time with hand. Children on stage 
sing softly the words of the song, " The Orchestra." 



IN MUSIC LAND 23 

At close of first verse, " Cuckoo, Cuckoo" is heard 
from tree off stage. If the zvhole soug is used, he 
shotdd sing at the end of the second verse too, and 
DoH should say, " Chase him aivay, some one.") 

Two-Four. Thai will go all right, Doh. Cricket has 
the swing of it now. 

(Katydids collect music quietly.) 

Doh. That's all then. Katy can collect the music 
now. 
Two Katydids. Katydid ! 
DoH. Well, run along now, every one. 

(Frog, chug-a-rum-rum, hops across to r. exit. Bee, 
bussing, flies slowly. Cricket, snapping, crawls. 
Katydids, hopping with short hops, mutter, "Katy- 
did," " Katy-didn't." Hummingbird in a fluttery 
dance. Grasshopper with big jumps. ) 

(Notes form ring dance, or play fid groups.) 

(Enter Flat 7, and Sharp 4, carrying a large sign. 
Notes crowd in a semicircle to read sign. Whole 
Note and 32ND on the outer edge of group.) 

32ND (on tiptoe). What does it say? 

Whole Note (reading). "Chromatic tone dance in 
the Hollow before sunset." 

All (clapping hands). "How nice," "That's fun," 
" Jolly to see," etc. 

Eighth Note. Oh, Ti, when are you going to re- 
hearse for it? 

Ti. Very soon. You are always in a hurry for 
things, aren't you. Eighth Note? 

Whole Note (walking to bench with 32ND Note). 
Have your rehearsal here. A whole note is a lot to 
move. I want to see it, and I don't want to move. 

(Sits heavily.) 

All. That's a good idea! 



24 IN MUSIC LAND 

DoH. Are you going to have a soloist on the pro- 
gram, Fa? 

Fa. Yes, we asked Jenny Wren to sing. We are lucky 
to get her, as she is on her way south and cannot stay 
long. 

i6th. Oh, goody! I love Jenny Wren. She's just 
my size. 

Fa and Ti. We will get the others and you can clear 
a space for us to dance. 

[Exit Fa and Ti. 

(Business of clearing space. Notes grouped down L. 
front, R. front, c, back.) 

(Enter Chromatic Tones and dance a Chromatic 
Tone dance to Music: "Carmen" Selection.) 

[Exit Chromatic Tones. 

(Notes wave and clap. Some say, " Oh, that was 
nice, lovely," etc.; then join in the games again.) 

[Exit Rhythms. 

(Voice heard in rising tones from l. Enter Cres- 
cendo, striding.) 

Crescendo. Hello, hello, H-E-L-L-O! What have 
we here ? How are you, my dears ? 

All. Oh, Crescendo! We are glad to see you! 

Quarters. We're having a holiday and lots of fun. 

La. Where is Diminuendo? 

Crescendo {looking around). Oh, somewhere close 
by. That brother of mine never gets very far away from 
me. 

(Enter Diminuendo timidly. His voice heard in fall- 
ing tones from l.) 

Diminuendo. HELLO, Hello, h-e-1-l-o. Aren't you 
always having a holiday? 

All. No ! Of course not. You know we have to 
work very hard. 

Don. Work hard? I should say we do, especially 
during school and lesson times. 



IN MUSIC LAND 25 

CRESCENDa I suppose you do. 
Diminuendo. But it is good for you. 
Quarters. It is very hard to stay in our places in the 
books so long. 

Whole. Not for me it isn't. 

(Smiles and shakes head.) 

i6ths. No, you are a slow note, but we like to go fast 
and run. 

( The two Notes run off hand in hand. ) 

La. It is not only staying in one place in the books 
that is hard, but when people do not play and sing us 
correctly, it really hurts us. 

Sol. It is a shock to our " nervous chords " when we 
are not sounded rightly. 

Quarter (showing bandaged finger). That's not so 
bad as being cut off too short and not given full value. 
See, I had my finger nipped only yesterday by a little 
girl. She was thinking of her new hair ribbon instead 
of looking at her music book. 

Whole. Come here, you poor Quarter Note, I'll kiss 
it and make it well. (All laugh.) 

Crescendo. Ah well, my dears, you forget all your 
troubles on a holiday. 

Diminuendo. Don't you? 

All. Of course we do. 

(Circle back. Crescendo, Diminuendo and Sylla- 
bles come a little forivard. ) 

Crescendo (to Sol). We were to meet Ritard here. 
Have you seen him ? 

Sol. No, but he is so slow that it will take him until 
to-morrow to get here ! (All laugh.) 

Diminuendo. That's just it. We told him to come 
yesterday so as to be sure of him for to-day. 

(Enter Ritard, draggingly. Yawns and looks all around.) 

Ritard. Hi Ho ! Quite a gathering upon my word 



26 IN MUSIC LAND 

Crescendo. Well, Ritard, I've never known you to 
get to a place " in time." 

Ritard. " In tempo " I suppose you mean. No, take 
things slowly, I say, you enjoy them better. 

Half. It's a good thing we're not all as slow as you 
are, Ritard. Music would not be at all interesting. 

La (smiling sweetly at Ritard). Perhaps not, but he 
is just right for special effects and endings. 

Ritard. My sincere thanks. La. (Bowing.) You 
are a very nice little girl. I've always liked you, espe- 
cially in your minor mode. 

♦Crescendo. Some of our clan are having a confer- 
ence on the subject of minor music, Ritard. My cousins, 
Accent, Piano, and Forte are coming, and I was in hopes 
your cousins would join us. 

Ritard. Do you mean Tie and Hold ? I passed them 
on the way. They are about the only people I can pass, 
you know. (Smiling.) 

(Enter from r. Accent, Piano, and Forte character- 
istically. ) 

Forte. Here we are, Crescendo. 

Piano. I think I will stay near you for a while, 
Ritard. This walk with Forte and Accent has been 
rather exhausting! 

Accent. She's not very complimentary ! 

Diminuendo. Be careful, Accent, that was wrong. 
Accent. So it was. I got started wrong. 

(Enter Tie and Hold from l.) 

*Crescendo. Our group is all here now, so we will 
be off to the meadow for our conference. Come on, 
Ritard, we won't lose you this time. [All exit R. 

Ritard. I'm coming. Slow but sure is my motto. 

[Exit Ritard. 

(Round is heard off stage. Notes all listen.) 

(Music: Rotmd.) 



IN MUSIC LAND If 

Round {off stage). 

" Here we go a-singing on our holiday, 
Happy voices ringing in our merry play. 
Sing tra-la-la, the merry month of May." 

DoH. I hear the round girls. I wonder where they 
are going. 

(Enter Round Girls.) 

Sol. Hello, we haven't seen you for a long while. 

(First Ending.) 

(Enter three girls.) 
1ST Girl. We are on our way. 
2ND Girl. To find Apollo. 
3RD Girl. And prepare for the concert. 
All. What concert is that? 

(Music: Round.) 

1ST Girl. Why, the children are having a concert of 
their songs. 

2ND Girl. And Apollo has promised to play for us 
first! 

3RD Girl. You are surely all going, aren't you? 

La. Indeed we will. We wouldn't miss that for any- 
thing ! 

DoH. Oh, what a lovely way to end our holiday ! 

(Join hands and sing Round. Gradual exit still sing- 
ing. Final march of all characters in given order. 
Music: Final March.) 

(Second Ending.) 

(Enter three girls.) 
1ST Girl. We are on our way 
2ND Girl. To the hill top 

3RD Girl. To hear Apollo, the Greek god of music ! 
All. Is he going to play for us? 
1ST Girl. Yes, he has promised to play. 
2ND Girl. Upon his harp. 



28 IN MUSIC LAND 



3RD Girl. Every one is coming. You will stay, won't 
you? 

La. Indeed we will. We wouldn't miss that for any- 
thing ! 

DoH. Oh, what a lovely way to end our holiday ! 

(Join hands. All sing Round and gradually exit, still 
singing. Followed by all others immediately in Final 
March and grouping of all characters about Apollo. ) 



CURTAIN 



THE AIR-SPY 

A War Play in Three Acts 
By Mansfield Scott 
Twelve males, four females. Costumes, modern ; scenery, a single in- 
terior. Plays an hour and a half. Royalty, ^lo.oo for first, Jfs.oo for 
subsequent performances by same cast ; free for school performance. In- 
spector Steele, of the Secret Service, sets his wits agamst those of German 
emissaries in their plot against Dr. Treadwell's air ship, a valuable wa» 
invention, and baffles tiiem after an exciting pursuit. An easy thriller, 
full of patriotic interest. Easy to get up and very effective. Strongly 
recommended for school performance. Originally produced by Th» 
Newton (Mass.) High School. 

Price, 55 cents 

CHARACTERS 
Dr. Henry Treadwell, mventor of the Giatit Air-ship. 
Victor Lawrence, his pretended friend — a German spy. 
Harold Felton, of the United States Army. 
Carleton Everton, a youjtg Englishman. 
Karl Schoneman, of the Germati Secret Service. 
Franz Muller, his assistant. 
Arthur Merrill, also of the United States Army. 
Inspector Malcome Steele, of the United State-^ Secret Servic0. 
Henry Gootner, a German agent. 
Francis Drury, one of Treadwell' s guests. 
Corporal Thayer. 
Private Freeman. 

Ruth Treadwell, Treadwell* s daughter. 
Muriel Lawrence, Lawrence's daughter. 
Mrs. Treadwell. 
Margaret Linden, a friend of Ruth's. 

The Time. — America's second suminer in the war. 
The Place. — A deserted mansion on a small island near Ea^t- 
port, Maine. 

SYNOPSIS 
Act I. The afternoon of June loth. 
Act II. The evening of September 2ist. 

Act III. Scene I. The afternoon of the next day About 1:30. 
Scene 2. An hour later. 

ART CLUBS ARE TRUMPS 

A Play in One Act 
By Mary Mo7icure Parker 
Twelve females. Costumes of 1890 with one exception ; "'*»pe, a single 
easy interior. Plays thirty minutes. Describes the trials ot an a^nbitious 
woman who desired to form a club in the early days of ciub life for 
women about thirty years ago, before the days of telephones a«d auto- 
mobiles. A capital play for ladies' clubs or for older women in geaera). 
The costumes are quaint and the picture of life in the year of the Chicago 
World's Fair offers an amusing contrast to the present. Recommended. 
Price, 2^ cents 



OLD DAYS IN DIXIE 

A Comedy-Drama in Three Acts 
By Walter Ben Hare 

Five males, eight females. Scene, a single interior. Costumes of the 
period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
Bonfoey, steals her love. Forced to leave suddenly because of crooked 
money transactions, he persuades her to elope, but this is prevented by a 
wonderfully dramatic device. Beverly then challenges Raoul, who shows 
the white feather and runs away, and Bevei'ly, to save the family honor, 
assumes the consequences of his swindling transactions. The untying of 
this knot is the plot of a strong play with a genuine Soutliern atmosphere 
written wholly from the Southern point of view. Royalty, ^pio.oo for the 
first and ;?5.oo for subsequent performances by the same cast. 
Price, jj cents 

CHARACTERS 
The Prologue, the Goddess of the South. 
Madame Bonfoey, mistress of the plantation. 
Azalea, her ward. 
Nancy, Azalea' s sister. 

Cousin Sallie Sellers, from a neighboring estatt, 
Phcebe, a little coquette. 
Mary Rose, Phaebe' s sister. 
Mam' Dicey, the house mammy, 
Beverly Bonfoey, the young heir. 
Judge Pennymint, his uncle. 
Kaoul Chaudet, a visitor from Quebec. 
Cameo Clemm,/;w« the city. 
Unker Shad, a bit of old mahogany. 

Beaux and Belles of Dixie. 

SYNOPSIS OF SCENES 
Act I. The drawing-room of the Bonfoey Plantation in 1849. 
The letter. 
Act 11. The dinner party. The duel. 
Act III. An April morning, three years later. The return. 

THE ORIGINAL TWO BITS 

A Farce in Two Acts 

By Hazel M. Robinson 

Written for and presented by The Invders Club of the United 

Baptist Church of Lewiston, Maine 

Seven females. Scene, an interior. Plays twenty minutes. The girli 
in camp receive a visit from a neighbor and have to borrow the neighbor's 
own dinner in order to feed them. They almost get away with it — not 
quite. Irish comedy character, eccentric aunt, rest straight. 
Price, 25 cents 



LUCINDA SPEAKS 

A Comedy in Two Acts 

By Gladys Ruth Bridgham 
Eight women. Scene, an interior ; costumes, modern. Plays an hour 
and a quarter. Isabel Jevvett has dropped her homely middle name, 
Lucinda, and with it many sterling traits of character, and is not a very 
good mother to the daughter of her husband over in France. But cir- 
cumstances bring " Lucinda " to life again vpith wonderful results. A 
pretty and dramatic contrast that is very effective. Well recommended. 
Price, 25 cents 

CHARACTERS 

Isabel Jewett, aged zy. 
Miriam, her daughter, aged 7. 
Mrs. McBiekney, aged 50. 
Tessie Flanders, aged 18. 
Mrs. Douglas Jewett, aged 4^. 
Helen, her daughter, aged 20. 
Mrs. Fogg, aged js. 
Florence Lindsey, aged 25. 

SYNOPSIS 

Act I. — Dining-room in Isabel Jewett's tenement, Rmcbury, 
October, 1918. 

Act II. — The same — three months later. 

WRONG NUMBERS 

A Triologue Without a Moral 

By Essex Dane 

Three women. Scene, an interior; unimportant. Costumes, modern. 

Plays twenty minutes. Royalty, )?5.oo. An intensely dramatic episode 

between two shop-lifters in a department store, in which " diamond cuts 

diamond " in a vividly exciting and absorbingly interesting battle of wits. 

A great success in the author's hands in War Camp work, and recom- 

■aiended in the strongest terms. A really powerful little play. 

Price, 2$ cents 

FLEURETTE & CO. 
A Duologue in One Act 
By Essex Dane 
Two women. Scene, an interior ; costumes, modern. Plays twenty 
minutes. Royalty, ^5.00. Mrs. Paynter, a society lady who does not 
pay her bills, by a mischance puts it into the power of a struggling dress- 
maker, professionally known as " Fleurette & Co.," to teach her a valu- 
able lesson and, incidentally, to collect her bill. A strikingly ingenious 
and entertaining little piece of strong dramatic interest, strongly recom- 
mended. 

IVice, 2S cents 



MUCH ADO ABOUT BETTY 

A Coiufcly in TliRe Acts 
By Walter Ben Hare 
Pen male, twelve female characters, or seven males and seven females 
jy doubling. Costumes, modern ; scenery, two easy interiors. Plays a 
full evening. Betty, a moving picture star, going south on a vacation, 
lose:5 her memory from the shock of a railway accident, and is identihed 
.13 a rival, Violet Ostrich, from a hand-bag that siie carries. In this char- 
acter she encounters the real Violet, who has just eloped with Ned O'flare, 
and mixes things up sadly both for herself and the young couple. An 
exceptionally briglit, clever and efteclive play that can be highly recom- 
:iiended. Good Negro, Irish and eccentric comedy parts. 
Price, 3S cents 

CHARACTERS 

Lin Leonard, Be«j/'« o(ie ?)es< be«. Ethel Kohler, a hiyh-school admirer 

Major Jakthee, of Wichita, not only of Hnty. 

beni, but crooked. Violet Ostrich, a film favorite, Ned's 

Ned O'Hare, (i jolly yotiiig fioneymoonsr. bride. 

Mr. E. Z. O.strich, R'/to has ivritten a Mrs. K. M. Digqjj^s, a guest at the Hold 

wonderfid picluit'-jjliiy. I'oinsettia. 

Dr. McHivvT, solid ii'oiy from the neck U2). Daffodil Diggins, her dai(fl'/t/f c, " 1V.^, 

Jim Wll,"ES, a high-school senior Mamma!" 

AKCHIE, a black bell-boy at the Hotel Mi.ss Chizzle, one of the North Georgi'i 

Poinsettiu. CMzzles. 

Officer Riley, lu/to alxvays does hisduty. Pearlie Brown, Violet's maid, a tvidoiv 

Officer Duoan,/»y)//i l/ie L'liierald Isle. of ebon hue. 

Mr. Ebknezer O'Harb, a sicA' wiKu a;itZ Violet, Violet Ostrich's little girl aged 

a submerged tenth seven. 

Mrs. Ebenkzkr O'Hare, "Birdie," the Diahoi^d, Psarlie's little girl aged si.e 

other ninetenllis. and 

AxiNT Winnie, Betty's chaperone. Betty, the star of the Movagraj^h Co. 
Lizzie Monahan, Betty's maid, with a 

vivid imagination. 

Jartree may double Dugan ; Ned may double Riley ; Jim may double Archie ; 
Mrs. O'Hare may (inuhle Ethel; Aunt Winnie may double Pearlie and Lizzie 
may double Miss Chizzle, thus reducing the cast to seven males and seveu fe- 
uaies. The two children have uo lines to speak. 

SYNOPSIS 

Act I. Betty's apartments near New York. Married in haste. 
Act ir. Parlor D of the Hotel Poinsettia, Palm Beech, Fla. Three days later. 
Betty loses her memory. 
Act III. Same scene as Act II. A full honeymoon. 

JUST A LITTLE MISTAKE 

A Comedy in One Act 
B_y Elizabeth Gale 
One male, five female characters, or can be played by all girls. Cos- 
tames, modern; scenery, an easy interior. Plays forty minutes. Mis. 
Ball receives a cablegram from her sister Lucy stating that Jerry 
will arrive that day and begging her to be cordial. Mrs. Ball then goes 
out to hire a cook, leaving three young friends to receive the unknown 
guest. The cook, sent down from the agency in haste, is greeted and 
entertained as Jerry and when the real Jerry (Miss Geraldine Take) ar- 
rives she is sent out to the kitclien. After considerable confusion and ex- 
citement she is discovereil to be the " Little Miss Take." Strongly rec- 
amniended. Price, 2^ cents 





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A 




25c 




The Original Two Bits 




7 


A 




25c 




Z An Outsider 




7 


% 




25c 




* Oysters 




6 


A 




25c 




i A Pan of Fudge 




6 


A 




25c 




A Peck of Trouble 




5 


'A 




25c 




j A Precious Pickle 




7 


A 




25c 




ii The First National Boot 


7 


2 


I 




250 




. His Father's Son 


14 




iX 




3SC 




" The Turn la the Road 


9 




I>3 




25c 




; A Half Back's Interference 


lO 




X 




25c 




The Revolving Wedge 


S 


3 


I 




25c 




Mose 


II 


10 


^Vz 




I'-c 




BAKKK, Hamilton 


Place, Boston, Masso 


i 



^ 



■^'■^•■■^'■^^^•r-Ar-Ar-^tf^^lt^-Ai-iCtf^t:! 



I 



Plays and Novelties That Have Been " Winners ' 



Mslti 



Camp Fidelity Qlrls 

Anita's Trial 

Tlie Farmerette 

Behind the Scenes 

The Camp Fire Girls 

A Case for Sherlock Holmes 

The House in Laurel Lane 

Her First Assignment 

I Grant You Three Wishes 

Joint Owners in Spain 

Marrying Money 

The Original Two Bits 

The Over-Alls Club 

Leave it to Polly 

The Rev. Peter Brice, Bachelor 

Mf 88 Fearless & Co. 

A Modern Cinderella 

Theodore, Jr. 

Rebecca's Triumph 

Aboard a Slow Train In MIzzoory 

Twelve Old Maids 

An Awkward Squad 

The DIowUp of Algeraoo Blow 

The Doy Scouts 

A Close Shave 

Tbc First National Boot 

A nalf°Dack's Intet^creoce 

His Father's Son 

The Man With the Nose 

On the Quiet 

The People's Money 

A Ref^ular Rah ! Rah I Boy 

A Regular Scream 

Schmcrccase in School 

The Scoutmaster 

The Tramps' Convontioa 

The Turn in the Road 

Wanted— a Pitcher 

What They Did for Jenkios 

Aunt Jcrusha's Quilting Party 

The District School at Blueberry 

Corners 
The Emigrants' Party 
Miss Print's Kindergarten 
A Pageant of History 
The Rcvc! cf the Year 
Scenes in the Union Depot 
Taking the Census in BlagvUle 
The Village Post-OHlce 
O'Keefe's Circuit 



II 
II 

7 

1:2 



12 

24 
10 



17 
10 
II 



Any number 



14 
22 

12 



8 

20 

8 



2% lirs. 
2 " 
2 " 

1% " 





IS 


2 




10 


»X 




6 


I>^ 




10 


I 




14 


H 




4 


% 




4 


Yz 




7 


% 




lO 


% 




II 


^Yz 




7 


Yz 




10 


2 




16 


^Yz 




7 


Yz 




16 




8 


14 


"^Yz 




IS 


I 


8 




X 


8 




Yz 


20 




2 


6 




Yz 


1 


a 


I 


IG 




¥ 


H 




»¥ 


8 




Ya 


12 




lYz 


II 




^H 


14 




iH 


II 




iH 


9 




I 


to 




2 


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9 




lYz 


II 




Yz 


14 




2 


4 


12 


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I 
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2 

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Prif 

35c 
35c 
35c 
35c 
25 c 
25c 
25c 

3SC 
25c 
25c 
25c 

35c 
25c 

35c 
35c 
25c 

35c 
35c 
25c 
25c 
25c 

3SC 
25 c 
25c 
25c 

35c 
25c 

35c 
25c 

3SC 
3SC 
25 c 

3SC 
25c 
25 c 
25c 
25c 
25c 

25c 
25c 
25c 

35c 
25 c 
25c 
25c 
35c 
35c 



BAKER, Hamilton Place, Boston, Mass. 



Nont 



55.00 

None 



181717 



LIBRARY OF CONGRESS 





017 400 468 7 



